A band of outcast mercenaries bonded by more than their thirst for battle and gold. A monstrous curse of transformation that reveals a soldier's true self. A woman chosen as a lover by the great hero of prophecy... until she meets his captivating enemy, the villainous Usurper Queen. Queer characters have often been cast as the villains, the monsters, the tragic figures--but never on their own terms. But not everyone wants to be a hero. The characters of these six dark fantasy stories choose to take the role of outcast, rebel, even monster. And this time, they plan to win. This collection contains the following short stories: The Land of the Living Bonds of Blood Monstrous Flesh Mortal Weakness The Life in the Void and the Spaces Between A Traitor's Heart
Ben considers himself lucky. He found Gabriel early in life and he is loved. But at twenty-one, he’s beginning to question if the boat of youthful independence will soon set sail without him. Will his devotion to Gabriel prevent him from exploring with other guys? Will he ever get to experience the heart-wavering thrill of falling in love again? Vacationing on Gabriel’s family boat on the French Riviera, Ben is unprepared for the arrival of Leo, a beautiful adolescent thriving in the noontide of carefree nonchalance. Over the course of a single day, Ben battles his burgeoning lust and intensifying guilt. Will he betray Gabriel, who has done nothing but love him? Or can he resist the carnal temptation of the most beautiful boy he has ever seen?
A groundbreaking examination of how twentieth-century African American writers use queer characters to challenge and ultimately reject subjectivity Black Queer Flesh reinterprets key African American novels from the Harlem Renaissance to Black Modernism to contemporary literature, showing how authors have imagined a new model of black queer selfhood. African American authors blame liberal humanism’s model of subjectivity for double consciousness and find that liberal humanism’s celebration of individual autonomy and agency is a way of disciplining Black queer lives. These authors thus reject subjectivity in search of a new mode of the self that Alvin J. Henry names “black queer flesh”—a model of selfhood that is collective, plural, fluctuating, and deeply connected to the black queer past. Henry begins with early twentieth-century authors such as Jessie Redmon Fauset and James Weldon Johnson. These authors adapted the Bildungsroman, the novel of self-formation, to show African Americans gaining freedom and agency by becoming a liberal, autonomous subjects. These authors, however, discovered that the promise of liberal autonomy held out by the Bildungsroman was yet another tool of antiblack racism. As a result, they tentatively experimented with repurposing the Bildungsroman to throw off subjectivity and its attendant double consciousness. In contrast, Nella Larsen, Henry shows, was the first author to fully reject subjectivity. In Quicksand and Passing, Larsen invented a new genre showing her queer characters—characters whose queerness already positioned them on the margins of subjectivity—escaping subjectivity altogether. Using Ralph Ellison’s archival drafts, Henry then powerfully rereads Invisible Man, revealing that the protagonist as a queer, disabled character taught by the novel’s many other queer, disabled characters to likewise seek a selfhood beyond subjectivity. Although Larsen and Ellison sketch glimpses of this selfhood beyond subjectivity, only Saidiya Hartman’s Wayward Lives, Beautiful Experiments shows a protagonist fully inhabiting black queer flesh—a new mode of selfhood that is collective, plural, always evolving, and no longer alienated from the black past. Black Queer Flesh is an original and necessary contribution to black literary studies, offering new ways to understand and appreciate the canonical texts and far more.
Reading Literature and Theory at the Intersections of Queer and Class focuses on the crossover of queer and class, examining a range of texts across languages and genres and spanning nearly a century. This collection of chapters considers the intersection of queer and class in relation to literary aesthetics, a locus in which the interaction between sexuality and class is rendered with lucidity. Each chapter puts forward class and its manifestations as central to queer analysis of literary and cultural texts in historical and contemporary contexts. The readings adopt Kimberlé Crenshaw’s intersectional paradigm by pointing to its activist as well as literary precedents and elaborations. These chapters emerged from a long-standing collaboration among three Central European universities whose faculty and graduate students established a joint queer literature and theory research seminar. They are supplemented by a roundtable discussion in which the contributing authors and their colleagues discuss how the concepts of queer and class in theory and (academic) practice have informed their current and previous work. Reading Literature and Theory at the Intersections of Queer and Class is intended for scholars in gender and queer studies.
This intriguing, authoritative book tracks stage representations of lesbians and gay men from Oscar Wilde to the present day and examines scores of British and American plays and playwrights, including works by Wilde, Maugham, Coward, Hellman, O'Neill, Le Roi Jones, and Joe Orton.
A sensational tale of obsession and murder from a wonderful writer. ‘An outstanding novel, fresh and unusual [with] all the dirt, stink, rasp and flavour of the time.’ Daily Telegraph
* Instant New York Times Bestseller * Indie Bestseller * In this stunning new fantasy novel from international bestselling author C. S. Pacat, heroes and villains of a long-forgotten war are reborn and begin to draw new battle lines. This epic fantasy with high-stakes romance will sit perfectly on shelves next to beloved fantasy novels like the Infernal Devices series, the Shadow and Bone trilogy, and the Red Queen series. Sixteen-year-old dock boy Will is on the run, pursued by the men who killed his mother. Then an old servant tells him of his destiny to fight beside the Stewards, who have sworn to protect humanity if the Dark King ever returns. Will is thrust into a world of magic, where he starts training for a vital role in the oncoming battle against the Dark. As London is threatened and old enmities are awakened, Will must stand with the last heroes of the Light to prevent the fate that destroyed their world from returning to destroy his own. Like V.E. Schwab’s A Darker Shade of Magic and Shelby Mahurin’s Serpent & Dove, Dark Rise is more than just high intrigue fantasy—it’s fast-paced, action-packed, and completely surprising. Readers will love exploring the rich setting of nineteenth-century London. This thrilling story of friendship, deception, loyalty, and betrayal is sure to find a passionate audience of readers.
The Oxford Handbook of Feminist Theory provides a rich overview of the analytical frameworks and theoretical concepts that feminist theorists have developed to analyze the known world. Featuring leading feminist theorists from diverse regions of the globe, this collection delves into forty-nine subject areas, demonstrating the complexity of feminist challenges to established knowledge, while also engaging areas of contestation within feminist theory. Demonstrating the interdisciplinary nature of feminist theory, the chapters offer innovative analyses of topics central to social and political science, cultural studies and humanities, discourses associated with medicine and science, and issues in contemporary critical theory that have been transformed through feminist theorization. The handbook identifies limitations of key epistemic assumptions that inform traditional scholarship and shows how theorizing from women's and men's lives has profound effects on the conceptualization of central categories, whether the field of analysis is aesthetics, biology, cultural studies, development, economics, film studies, health, history, literature, politics, religion, science studies, sexualities, violence, or war.
Alfred Hitchcock's American films are not only among the most admired works in world cinema, they also offer some of our most acute responses to the changing shape of American society in the 1940s, 50s, and 60s. The authors of this anthology show how famous films such as Strangers on a Train, Vertigo, North by Northwest, and Rear Window, along with more obscure ones such as Rope, The Wrong Man, and Family Plot, register the ideologies and insurgencies, the normative assumptions and the cultural alternatives, that shaped these tumultuous decades. They argue that, just as these films occupy a visual landscape defined by the grand monuments of American civic life--Mt. Rushmore, the Statue of Liberty, the United Nations--they are also marked by their preoccupation with the social mores and private practices of mid-century America. Not only are big-city and suburban life the explicit subjects of films like Rear Window and Shadow of a Doubt, so are the forms of experience that emerge within these social spaces, whether the urban voyeurism examined by the former or the intertwining of banality and violence depicted in the latter. Indeed, just about every form of American life that was achieving social power at this time--the national security state; the science and art of psychoanalysis; the privileging of the free-wheeling, improvisatory self; the postwar codification and fissuring of gender roles; road-culture and its ancillary creation, the motel--is given detailed, critical, and mordant examination in Hitchcocks films. The Hitchcock who emerges is not merely the inspired technician and psychological excavator that critics of the past two generations have justly hailed; he is also a cultural critic of remarkable insight and undeniable prescience.
